Conrad on Rousseau and the autobiographical elements of fiction

Joseph Conrad

[In A Personal Record, which relates how Conrad became a novelist, he tells us that he must write differently than Rousseau. The following excerpt comes from the Project Gutenberg version [EBook #687] created by Judith Boss and David Widger
and released on January 9, 2006. — George P. Landow]

he matter in hand, however, is to keep these
reminiscences from turning into confessions, a form of literary
activity discredited by Jean Jacques Rousseau on account of the extreme
thoroughness he brought to the work of justifying his own existence;
for that such was his purpose is palpably, even grossly, visible to
an unprejudiced eye. But then, you see, the man was not a writer of
fiction. He was an artless moralist, as is clearly demonstrated by his
anniversaries being celebrated with marked emphasis by the heirs of
the French Revolution, which was not a political movement at all, but
a great outburst of morality. He had no imagination, as the most casual
perusal of "Emile" will prove. He was no novelist, whose first virtue is
the exact understanding of the limits traced by the reality of his time
to the play of his invention. Inspiration comes from the earth, which
has a past, a history, a future, not from the cold and immutable heaven.
A writer of imaginative prose (even more than any other sort of artist)
stands confessed in his works. His conscience, his deeper sense of
things, lawful and unlawful, gives him his attitude before the world.
Indeed, everyone who puts pen to paper for the reading of strangers
(unless a moralist, who, generally speaking, has no conscience except
the one he is at pains to produce for the use of others) can speak of
nothing else. It is M. Anatole France, the most eloquent and just of
French prose-writers, who says that we must recognize at last that,
"failing the resolution to hold our peace, we can only talk of
ourselves."